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Novel Nation: Victorian Realism and the Fiction(S) of England

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Novel Nation: Victorian Realism and the Fiction(S) of England Novel Nation: Victorian Realism and the Fiction(s) of England by Kirstin Lea Hainer A thesis submitted in conformity with the requirements For the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Kirstin Lea Hainer (2017) Novel Nation: Victorian Realism and the Fiction(s) of England Kirstin Lea Hainer Doctor of Philosophy Graduate Department of English University of Toronto 2017 Abstract The idea that the Victorian novel—in particular, the Victorian realist novel—became an integral and transformational part of both individual and national identity in England during the nineteenth century provides the broad framework of my dissertation project. In “Novel Nation: Victorian Realism and the Fiction(s) of England,” I examine the careers, works, and public reception of four of the most celebrated authors—then and now—from the second half of the nineteenth century: Elizabeth Gaskell, Anthony Trollope, George Eliot, and Thomas Hardy. These authors, I suggest, saw themselves and were themselves seen as writing within a newly emergent, specifically English literary tradition that placed the novel as a genre, and their novels in particular, at the centre of a living national literature that was actively shaping the contours and character of the nation in very real and lasting ways. More specifically, I argue the representational claims to (and in some cases, denials of) “the real” that these authors made— particularly in relation to place—along with the critical constructions by reviewers and readers of these authors as cultural authorities and national icons, worked to shape a powerful new vision of the English nation as a fundamentally literary entity. By taking into account how the immediate reception of an author’s works influenced their subsequent writings, as well as how their writings ii influenced their readers, I examine the reciprocal, even porous relationship that existed between the Victorian novel and its readers—a relationship that reveals the seepage between fiction and reality that is at the core of this dissertation project. Thus, while my project examines the specific and varied ways in which these authors and their works imagined, engaged with, and challenged ideas of English national identity and the English nation, it is equally interested in exploring how they and their novels became (willingly or not) symbols and repositories of Englishness—how, that is, they became England’s national culture—and, more broadly, how the English nation became rooted in, realized through, and reimagined by such fictions so that England itself became a “Novel Nation.” iii Acknowledgments This dissertation was completed with material support from the Social Sciences and Humanities Research Council of Canada, the Ontario Graduate Scholarship program, and Department of English provided University of Toronto Fellowships. “Novel Nation” has been a long time in the making and there are numerous people without whom I doubt it would have been made at all and to whom I owe a great deal of thanks. First, I would like to thank my supervisor, Audrey Jaffe, who always saw the potential in my work and whose warm encouragement, patience, and valuable insights helped me navigate the complexities of Victorian realism and dissertation writing. I could always rely on Audrey for an observation or question that would both clarify and challenge my ideas, helping me to push my project to the next level, and her enthusiasm for my work has helped sustain my own. I cannot imagine a better supervisor; it has been both a privilege and a pleasure to work with her. I also owe a great deal of thanks to my other committee members, Christine Bolus-Reichert and Jill Matus, who, alongside Audrey, have been part of this project since its inception and have been generous with both their time and insights; I am grateful to have had the opportunity to work with such vibrant and inspiring group of scholars and for their continued encouragement and support of me and my work. The thoughtful comments and questions from the additional members of my defense committee—Beth Helsinger, Alan Bewell, and Lynne Magnusson— were also much appreciated as they have helped me think more deeply about the future directions of my project. The friendships that I have made in graduate school have been some of the most enriching of my life and this journey would not have been the same without all the late night conversations and celebrations that I enjoyed with the ‘Comps Group’: Glenn Clifton, Camilla Eckbo, Dan Harney, Colin Loughran, Brandon McFarlane, and Kailin Wright. Special thanks to Colin and Dan for the feedback both provided on drafts of my work and the friendship both continue to give. Also deserving of special thanks is my writing partner of the last year, Elisa Tersigni, whose enthusiasm, encouragement, and snacks helped propel me to the end of this project. Warm thanks also goes to many friends outside the academy who have believed in me, cheered for me, and inspired me over the course of my degree (and my life), in particular Julia Sojoodi, Justin Ridley, Laura Crystal, Ned Baker, and Mike Oppenheim. My mother-in-law, Miriam Henriques, and sister-in-law, Monica, have also been an immense source of compassion and support for which I am grateful. I would also like to acknowledge my aunt, Vera Arajs, a kindred spirit who passed away soon after this project began, but who supported and encouraged my love of literature for as long as I can remember and is much missed. I owe my deepest thanks to my immediate family, not only for the lifetime of unconditional love and support they have given me, but also for the joy that they bring to my life, and the inspiration each of them is to me. To my parents, Ralph and Monica: it is impossible to say how much your unfaltering confidence in me has meant; thank you for encouraging me in everything that I have iv done, including this project, for always believing that I could do it, and for listening to me endlessly talk as I did it. To my siblings, Geoffrey, Sarah, and Anne: thank you for being my staunchest supporters and my best friends. Geoff, thank you for your constant reminders not to take things too seriously; Sarah, for your compassion and understanding when I did; and Anne, for reading every one of my “Margaret goes to lunch” novels and making my interests so deeply your own. Thank you also to the partners and children that have joined us over the years— Samantha, Marquis, and Jodie, Raeya and Isabel—for all the laughter and love you have brought with you and for the support you have given me. Finally, I must thank my own partner, my husband, David, for always being there and always believing in me; day after day you make me feel like the luckiest girl in the world and I am forever grateful for your encouragement, support, patience, and love. I would like to dedicate this project to my father, Ralph, whose love of literature and language so deeply inspired my own. Dad: I could not have done this without you or your incredible editing skills. You are, and will always be, my first, best, and most-loved reader. Thank you. v Table of Contents Acknowledgments iv List of Abbreviations viii List of Figures ix Introduction Novel Nation 1 Chapter 1 Altogether English: Domesticating the Nation in Elizabeth Gaskell’s Pleasant Homeland Stories i. Everybody’s World: Elizabeth Gaskell’s England 19 ii. A Tale of English Life: Mary Barton, Manchester, and English Culture 26 iii. National Locales: The Household Wor(l)d of Cranford 38 iv. Domesticating the Regional: North and South and The Life of Charlotte Brontë 52 v. Altogether English: Inventing “Mrs Gaskell” 72 Chapter 2 Solid and Substantial: Anthony Trollope’s Barsetshire and the Influence of English Real(ist) Estate i. Solid and Substantial: Trollope’s Fictional Foundation 76 ii. Great Impressions: Reflective Fantasies and Realist Reform in Early Barsetshire 85 iii. As if Art Were Life: Sequels, Series, and Real Fiction 101 iv. National Investments: Framley Parsonage and the Cornhill Magazine 113 v. Real(ist) Returns: Cultivating Character in Framley Parsonage 126 vi Chapter 3 Unsettling England: Daniel Deronda and the Deracination of National Life i. On Land and At Sea: Reading from Adam Bede to Daniel Deronda 142 ii. Comfortably Grounded: Eliot’s Early Realism 152 iii. A Puerile State of Culture: England’s Deep Roots and Narrow Horizons 168 iv. “So As By Fire”: The Discomforts of Deracination 185 v. In Medias Res: Narrative Middles and the Ethics of Becoming 201 Chapter 4 Consuming English Fictions: Thomas Hardy’s Wessex and the Trap of Victorian Idyllism i. Consuming Subjects: Dilution, Delusion, and Desire 208 ii. Aesthetic Distance: Distortion and Critique in Under the Greenwood Tree 217 iii. Pursuing Tess: Idyllism and Inscription in Tess of the d’Urbervilles 232 iv. Re-placing the Rural: Collecting, Correcting, and Controlling Wessex 242 v. Ginning Jude: Jude the Obscure and the Iron Teeth of Wessex 258 Works Consulted 281 vii List of Abbreviations Works by Elizabeth Gaskell: C Cranford LCB The Life of Charlotte Brontë MB Mary Barton NS North and South SL Sylvia’s Lovers WD Wives and Daughters Works by Anthony Trollope: A An Autobiography BT Barchester Towers DT Doctor Thorne FP Framley Parsonage TLCB The Last Chronicle of Barset OF Orley Farm SHA The Small House at Allington W The Warden WWLN The Way We Live Now Works by George Eliot: AB Adam Bede DD Daniel Deronda M Middlemarch Works by Thomas Hardy: FFMC Far From the Madding Crowd JO Jude the Obscure LW Life and Works of Thomas Hardy T Tess of the D’Urbervilles UGT Under the Greenwood Tree TW The Woodlanders viii List of Figures Figure 2.1 “Barsetshire” 136 Figure 2.2 “Trollope’s Barsetshire” 137 Figure 2.3 “The Cornhill Magazine: No.
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